Happy I held onto it. There's definitely more to come. I wanted to make something cyclical, that changed with each cycle. And I just loved how it would leave the album open ended, almost leaving the listener wanting more. Promises This is the first song I wrote when I started. Garage style guitar lines create a melancholy melody which will take you to the corners of your memory, whilst soaring vocals and a steady drum beat remind you where the shore line is.
Unlike many times when artists make the leap from the bedroom to the big time and lose what made them good in the first place, managed to improve on what he was doing. It definitely dark, but hopeful. The care is not only evident within the tracks themselves, but also in the track listing, whereby the titles appear to symbolise some kind of personal evolution. Wasting Time Still being very new to guitar, recording this song was the first time I had the acoustic revelation. I usually write and record at the same time. Untitled I wrote this song just a day or two before I went into the studio to record the album.
I restrained the lyrics to one simple phrase, to let the arrangement guide the song. I think I wrote this before I was comfortable reflecting on my own feelings. I wrote the whole thing, lyrics and all, with just an acoustic guitar, which is really rare for me. I knew I wanted something without lyrics to break up the album, and that's where the idea came from. . Its composition is an ode to lonerism yet infused with a sense of self-assurance as Phillips asserts himself as the kind of artist who makes no apologies for creating music for himself. It's sort of just me daydreaming about meeting a cool girl and the world ending.
Home The idea for this song came when I was listening to Brian Eno's Here Come The Warm Jets. It's my tension filled version of a 1950s pop tune. Bloom This song was always written to be an instrumental, sort of an interlude. The Days We Had is out now via Fiction. Ordinary This is also an older song of mine, and it went through a couple of versions before ending up how it is on the record.
This sentiment is captured through the incredible steadiness of the track, provided by the use of soaring and swooping samples layered over ethereal vocal backing. In one easy step, went from being a promising band to a fully realized project with an impressive album under its belt. Disguise The idea for this song came when I was listening to The Flamingos. The sustained guitars in the intro and outro are my little homage to Robert Fripp. Previous songs sounded like a glossy update of the kind of beachy '80s-damaged pop Captured Tracks bands like were known for; now has gone in for a larger, slicker, more pop-friendly approach. It's not the most unique sound ever created, and there are bands like who do it better, but and are close to the top of the class, and another couple records like this and they might be teaching it soon. Having the song already written made me approach the production from a different perspective.
Just as it feels good to break away from it, making something so structured also has its place for me. Day Wave plays London's The Garage on 23 May. It's not a million miles away from the sound of earlier albums; it's just a pumped-up version that's meant to be heard by scores of people, not just isolated pockets of mopey bedroom pop enthusiasts. I tend to arrange my songs in a fairly straightforward pop structure, but it always feels good to break away when you get the chance. I went on to add acoustic guitars all over the album, but this one was the first. I also added a synthesiser solo at the end, almost as I joke, but I kept it.
But I like how carefree it is. I knew pretty soon that I'd save it for my first album. It's also one of the last songs written for the album. However, with just a touch of self-depreciation and hopelessness, he soothes you into the assurance that there is beauty in the confusion. His vocals soar over the pristine layers of guitars and synths, the bass and drums have a driving power, and the melodies have an aching, melodramatic quality that would be the perfect soundtrack for a heartbroken montage scene from a lost film. On Your Side This is one of the last songs I wrote for the album, and it's probably the most straight ahead one in the tracklisting.
. . . . .
. . . . . . .